Dissertation by Jared D O'Leary
This study examined discussion forum posts within a website dedicated to a medium and genre of mu... more This study examined discussion forum posts within a website dedicated to a medium and genre of music (chiptunes) with potential for music-centered making, a phrase I use to describe maker culture practices that revolve around music-related purposes. Three research questions guided this study: (1) What chiptune-related practices did members of chipmusic.org discuss between December 30th, 2009 and November 13th, 2017? (2) What do chipmusic.org discussion forum posts reveal about the multidisciplinary aspects of chiptunes? (3) What import might music-centered making evident within chipmusic.org discussion forum posts hold for music education? To address these research questions, I engaged in corpus-assisted discourse analysis tools and techniques to reveal and analyze patterns of discourse within 245,098 discussion forum posts within chipmusic.org. The analysis cycle consisted of (a) using corpus analysis techniques to reveal patterns of discourse across and within data consisting of 10,892,645 words, and (b) using discourse analysis techniques for a close reading of revealed patterns.
Findings revealed seven interconnected themes of chiptune-related practices: (a) composition practices, (b) performance practices, (c) maker practices, (d) coding practices, (e) entrepreneurial practices, (f), visual art practices, and (g) community practices. Members of chipmusic.org primarily discussed composing and performing chiptunes on a variety of instruments, as well as through retro computer and video game hardware. Members also discussed modifying and creating hardware and software for a multitude of electronic devices. Some members engaged in entrepreneurial practices to promote, sell, buy, and trade with other members. Throughout each of the revealed themes, members engaged in visual art practices, as well as community practices such as collective learning, collaborating, constructive criticism, competitive events, and collective efficacy.
Findings suggest the revealed themes incorporated practices from a multitude of academic disciplines or fields of study for music-related purposes. However, I argue that many of the music-related practices people discussed within chipmusic.org are not apparent within music education discourse, curricula, or standards. I call for an expansion of music education discourse and practices to include additional ways of being musical through practices that might borrow from multiple academic disciplines or fields of study for music-related purposes.
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Publications by Jared D O'Leary
Action, Criticism, and Theory for Music Education, 2019
Recent initiatives by for-profit corporations and funding measures instituted by governments inte... more Recent initiatives by for-profit corporations and funding measures instituted by governments intend to support the preparation of students for careers in computer science and technology. Although such initiatives and measures can indeed increase opportunities for students’ engagement with computer science and technology in K-12 schools, we question whose needs are being served, for what purposes, and at what cost. In particular, we ask whether music educators might be complicit in advancing technology that subordinates human needs—specifically students’ interests in making music in their own creative ways—to modes of production that benefit certain dominant commercial interests in society. After discussing how current computer technology narrows students’ choices, we counter this determinism by highlighting a music subculture that creates and appropriates music technologies for music-related purposes. Our example of the “chipscene” illustrates how music educators might reconceptualize “music making” through modification of existing music technology and thereby restore students’ freedom to “reclaim making” in the age of neoliberalism.
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Computer Science for Arizona (CSforAZ) Education Blog, 2017
Coding environments and curricula with puzzles and challenges often utilize engaging platforms wh... more Coding environments and curricula with puzzles and challenges often utilize engaging platforms which guide young coders to learn fundamental coding concepts and practices. These environments and curricula often progress from simple through complex algorithmic sequences with clearly defined solutions. This approach not only provides useful resources for young coders new to coding, but for adults new to teaching, facilitating, or evaluating coding classes. . . .
The remainder of the article describes a rationale for an approach to coding through interest-driven projects. The article includes a variety of examples and resources, which can be accessed through the following link: https://jaredoleary.com/publications/from-coding-puzzles-to-interest-driven-projects
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Introduction: "When considering the potential of technology for musical engagement, teaching, and... more Introduction: "When considering the potential of technology for musical engagement, teaching, and learning, music educators can acknowledge a range of contexts and ways of being musical to inform their practice. Video games offer a compelling locus for musical experience and engagement. Video games are digital, interactive, and immersive multimedia or intermedia that people play, and often in a social context. Characteristics of play, interactivity, immersion, and social engagement are critical to understanding the popularity of video games in contemporary society and their potential in music education. Video games are not simply media objects, but designed experiences with rules and mechanics which create systems that often invite problem solving, creative and critical thinking, and meaning making (Squire, 2006).
Though video games are a popular and established form of media in contemporary society, scholarship addressing video games in relation to music teaching and learning is at an early stage compared to the corpus of research addressing other aspects of music technology such as music creation or performance (Finney & Burnard, 2007; Webster, 2011). Building upon existing discourse in music education, this chapter draws on scholarship beyond the immediate scope of music teaching and learning to address the following three areas: 1) video games and music education; 2) game-based learning and learning theories; and 3) music and musical engagement within video games. Throughout this chapter we refer to video games in their myriad forms along with the devices on which they are played such as console systems, computers, and mobile devices."
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This chapter is concerned with the diverse ways that people engage with music or sound within, th... more This chapter is concerned with the diverse ways that people engage with music or sound within, through, and around video games. It begins with a review of literature on games as a leisure activity and sonic space, followed by highlighting various frameworks of participatory cultures. The bulk of the chapter connects these participatory culture frameworks with examples of engagement in sonic participatory cultures and sonic participation within, through, and around video games. Although these categories of sonic participation are divided into three sections, the chapter concludes with a discussion on the overlapping nature of sonic participation and implications for leisure as sonic participation.
This book chapter is available at: https://global.oup.com/academic/product/the-oxford-handbook-of-music-making-and-leisure-9780190244705?cc=us&lang=en&
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Presentations by Jared D O'Leary
This study examined 245,098 discussion forum posts within a website dedicated to chiptunes, which... more This study examined 245,098 discussion forum posts within a website dedicated to chiptunes, which are electronic music compositions or performances either emulating the sounds of or created through early computer and video game sound chips. Corpus-assisted discourse analysis tools and techniques assisted with revealing patterns of discourse across 10,892,645 words written between December 30th, 2009 and November 13th, 2017 within chipmusic.org.
Findings indicate seven interconnected themes of chiptune-related practices that demonstrate potential transdisciplinary connections between computer science education and music education: (a) music composition practices, (b) music performance practices, (c) maker practices, (d) coding practices, (e) entrepreneurial practices, (f) visual art practices, and (g) community practices.
Members of chipmusic.org engaged in computer science practices such as designing, manufacturing, and modifying electronic hardware for performing and recording chiptunes, as well as coding practices such as creating or modifying software for chiptune-related purposes. Such practices were guided by an interest in making music through old computer and video game hardware, and demonstrate several potential connections between computer science education and music education. For example, members engaged in computer science practices such as hardware and software modification to enable the ability to compose and perform music through the Nintendo Game Boy.
Findings from this study not only demonstrate potential connections between computer science education and music education, they also raise questions about spaces and curricula with blurred disciplinary boundaries. For example, where might chiptune-related practices that blur concepts and practices from a multitude of disciplines and standards occur within a formalized education environment?
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While group-based learning through a sequence can be a useful approach for elected classes as it ... more While group-based learning through a sequence can be a useful approach for elected classes as it is easier to assume student "buy in" or motivation, group-based learning can be a difficult approach for mandated classes that include students who do not wish to attend the class or are initially uninterested in CS. In addition, group-based learning is often based on the pacing of the average student, which is a pace that is often too fast or slow for students who fall outside of the class average. This poster, and the resulting discussions, posits a rhizomatic approach to curricular and experience design that encourages individualized learning within group settings. Rather than moving through CS concepts and practices in a prescribed sequence, a rhizomatic approach encourages self-directed learning along multiple paths or an entirely undefined path. This poster challenges educators to question in what ways the curricula and pedagogies they are familiar with might be modified to encourage equitable learning for a multitude of axiologies (values) or ontologies (ways of being) by creating a space for interests to guide learning.
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This presentation begins with an introduction to various approaches of project-based learning wit... more This presentation begins with an introduction to various approaches of project-based learning with Scratch; for example, backwards, inquiry-based, and emergent project designs. The second portion of this session is an interactive exploration of free Scratch project examples and resources I have developed.
The purpose of this session is twofold: a) provide an introduction to different types of project-based learning (e.g., backwards, inquiry-based, and emergent design) and how they lie on the project continuum (i.e., fixed, flexible, or open), and b) to give time to allow attendees to explore the free project-based resources I have created for Scratch. Everyone will walk away with dozens of lesson plans and resources to get them started with project-based learning with Scratch.
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This session discusses considerations for designing and facilitating a makerspace. I share projec... more This session discusses considerations for designing and facilitating a makerspace. I share project ideas, process videos, finalized products, and tips for designing and facilitating a makerspace dedicated to media arts and technology at any grade level.
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This interactive workshop explores the nexus between computer programming and music in grades thr... more This interactive workshop explores the nexus between computer programming and music in grades three and up. We will learn how to create two projects in Scratch, as well as a hip version of "Hot Cross Buns" using the program Sonic Pi. No coding or music experience required.
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In Arizona (and many other states), districts are just getting started with elementary coding and... more In Arizona (and many other states), districts are just getting started with elementary coding and CS education initiatives; however, teachers and administrators are often unsure where to get started. While high school CS is often guided by AP or dual enrollment criteria, elementary educators are often asked to implement CS standards without guidance on how or what elementary CS education could look like. This Birds of a Feather session intends to provide a space for elementary educators and administrators to ask questions as well as share tips and tools for getting started with computer science. As a veteran educator who switched over to coding and makerspace classes from another content area, I know what it's like to not know where to get started with CS education. My role in this session is to encourage attendees to ask questions and share tips and tools, as well as guide attendees toward a multitude of platforms, resources, and approaches to assist with getting started with elementary CS.
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This lightning talk introduces ipsative assessment, which is an assessment undertaken by a studen... more This lightning talk introduces ipsative assessment, which is an assessment undertaken by a student for the purpose of learning through reflection on prior work. This process differs from self-assessment where students evaluate their own efforts or results without making connections to prior creations or demonstrations of understandings. I begin this session by briefly reviewing applications of formative and summative assessment techniques and then introduce ipsative assessment as another possibility for assessing student work. After this brief introduction, I elaborate by providing examples of how I used ipsative assessment within the K-8 coding classes I designed and facilitated, and conclude the lightning talk by sharing assessment resources I created for elementary CS education professional development sessions.
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Rather than lecturing about rhizomatic design and learning, I'd like to model the approach by exp... more Rather than lecturing about rhizomatic design and learning, I'd like to model the approach by exploring the topic rhizomatically. Feel free to explore the resources below, search for and share your own resources related to this topic, or engage in a discussion on the topic with myself or the people around you. The idea behind this short session is to dip your toes into the topic while simultaneously providing enough resources to dive deeper after the session is over. If this approach is too distant from your own epistemological understanding of formalized education, I encourage you to question in what ways the curricula and pedagogies you are familiar with might be modified to encourage equitable learning for a multitude of axiologies (values) or ontologies (ways of being) by creating a space for interests to guide learning. Note: not all of the resources below borrow terminology from Deleuze and Guattari; however, interest-driven, non-linear, and self-directed learning are all relevant to the topic of moving toward equitable learning through curricula design and pedagogy that might be described as rhizomatic.
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Sequential learning often assumes an interest in a subject area and often does not take into acco... more Sequential learning often assumes an interest in a subject area and often does not take into account the interests of those who are required to be there. This session describes an approach designed for non-sequential learning of computer programming through interest-driven coding projects.
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This session discusses how to seamlessly integrate formative, summative, and ipsative assessment ... more This session discusses how to seamlessly integrate formative, summative, and ipsative assessment practices within K-12 coding projects and lessons. We will explore each of the three approaches and I will provide both formal and informal examples of how each type of assessment might occur within a project or lesson.
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This interactive workshop explores the nexus between computer programming and music. We will lear... more This interactive workshop explores the nexus between computer programming and music. We will learn how to create music in Scratch, as well as a hip version of "Hot Cross Buns" using the program Sonic Pi. No coding or music experience required; however, please bring a laptop for maximum fun.
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This interactive session explores augmenting programmatic music through a variety of technology. ... more This interactive session explores augmenting programmatic music through a variety of technology. The session begins with a brief presentation on how we augmented programmatic music performed by a community band I worked with. Following the brief presentation, we will work together to augment a programmatic piece of music. The session will end with a discussion on what could be learned in a project like this and how we might implement similar projects in the settings we facilitate. A laptop or tablet is recommended for this session.
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This paper presentation is formatted into the following sections: 1) A vignette on my own experie... more This paper presentation is formatted into the following sections: 1) A vignette on my own experiences coping with depression and suicide; 2) Statistics on depression and suicide as it relates to various populations music educators work with; 3) A vignette of a music educator helping a musician through depression and suicidal thoughts; 4) Risk factors and warning signs; 5) Suggestions for providing support; 6) A vignette from a music educator's perspective on a musician who committed suicide; 7) Closing thoughts. This paper presentation ends with an open discussion.
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This discussion-based presentation focuses on three emerging music nexuses: 1) music performance ... more This discussion-based presentation focuses on three emerging music nexuses: 1) music performance and technology; 2) music and video games; and 3) music and coding. The presentation slides below provide many resources related to these nexuses; however, the discussions originated from this presentation are not intended to be limited to these nexuses. I intend for this presentation to be a springboard for discussion on emerging music nexuses and their implications in music education/facilitation.
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This interactive session explores an elementary nexus between music creation, sound design, and c... more This interactive session explores an elementary nexus between music creation, sound design, and computer programming. The session begins with a brief presentation on some of the ways the kids I work with explore music creation, sound design, and computer programming, all within K-8 computer programming classes. Following this brief presentation, we will work together or independently to modify the music, sound, or code from a variety of example projects. The session will end with a discussion on what could be learned in a project like this and how we might implement similar projects in the settings we facilitate. A laptop is recommended for this session.
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Dissertation by Jared D O'Leary
Findings revealed seven interconnected themes of chiptune-related practices: (a) composition practices, (b) performance practices, (c) maker practices, (d) coding practices, (e) entrepreneurial practices, (f), visual art practices, and (g) community practices. Members of chipmusic.org primarily discussed composing and performing chiptunes on a variety of instruments, as well as through retro computer and video game hardware. Members also discussed modifying and creating hardware and software for a multitude of electronic devices. Some members engaged in entrepreneurial practices to promote, sell, buy, and trade with other members. Throughout each of the revealed themes, members engaged in visual art practices, as well as community practices such as collective learning, collaborating, constructive criticism, competitive events, and collective efficacy.
Findings suggest the revealed themes incorporated practices from a multitude of academic disciplines or fields of study for music-related purposes. However, I argue that many of the music-related practices people discussed within chipmusic.org are not apparent within music education discourse, curricula, or standards. I call for an expansion of music education discourse and practices to include additional ways of being musical through practices that might borrow from multiple academic disciplines or fields of study for music-related purposes.
Publications by Jared D O'Leary
The remainder of the article describes a rationale for an approach to coding through interest-driven projects. The article includes a variety of examples and resources, which can be accessed through the following link: https://jaredoleary.com/publications/from-coding-puzzles-to-interest-driven-projects
Though video games are a popular and established form of media in contemporary society, scholarship addressing video games in relation to music teaching and learning is at an early stage compared to the corpus of research addressing other aspects of music technology such as music creation or performance (Finney & Burnard, 2007; Webster, 2011). Building upon existing discourse in music education, this chapter draws on scholarship beyond the immediate scope of music teaching and learning to address the following three areas: 1) video games and music education; 2) game-based learning and learning theories; and 3) music and musical engagement within video games. Throughout this chapter we refer to video games in their myriad forms along with the devices on which they are played such as console systems, computers, and mobile devices."
This book chapter is available at: https://global.oup.com/academic/product/the-oxford-handbook-of-music-making-and-leisure-9780190244705?cc=us&lang=en&
Presentations by Jared D O'Leary
Findings indicate seven interconnected themes of chiptune-related practices that demonstrate potential transdisciplinary connections between computer science education and music education: (a) music composition practices, (b) music performance practices, (c) maker practices, (d) coding practices, (e) entrepreneurial practices, (f) visual art practices, and (g) community practices.
Members of chipmusic.org engaged in computer science practices such as designing, manufacturing, and modifying electronic hardware for performing and recording chiptunes, as well as coding practices such as creating or modifying software for chiptune-related purposes. Such practices were guided by an interest in making music through old computer and video game hardware, and demonstrate several potential connections between computer science education and music education. For example, members engaged in computer science practices such as hardware and software modification to enable the ability to compose and perform music through the Nintendo Game Boy.
Findings from this study not only demonstrate potential connections between computer science education and music education, they also raise questions about spaces and curricula with blurred disciplinary boundaries. For example, where might chiptune-related practices that blur concepts and practices from a multitude of disciplines and standards occur within a formalized education environment?
The purpose of this session is twofold: a) provide an introduction to different types of project-based learning (e.g., backwards, inquiry-based, and emergent design) and how they lie on the project continuum (i.e., fixed, flexible, or open), and b) to give time to allow attendees to explore the free project-based resources I have created for Scratch. Everyone will walk away with dozens of lesson plans and resources to get them started with project-based learning with Scratch.
Findings revealed seven interconnected themes of chiptune-related practices: (a) composition practices, (b) performance practices, (c) maker practices, (d) coding practices, (e) entrepreneurial practices, (f), visual art practices, and (g) community practices. Members of chipmusic.org primarily discussed composing and performing chiptunes on a variety of instruments, as well as through retro computer and video game hardware. Members also discussed modifying and creating hardware and software for a multitude of electronic devices. Some members engaged in entrepreneurial practices to promote, sell, buy, and trade with other members. Throughout each of the revealed themes, members engaged in visual art practices, as well as community practices such as collective learning, collaborating, constructive criticism, competitive events, and collective efficacy.
Findings suggest the revealed themes incorporated practices from a multitude of academic disciplines or fields of study for music-related purposes. However, I argue that many of the music-related practices people discussed within chipmusic.org are not apparent within music education discourse, curricula, or standards. I call for an expansion of music education discourse and practices to include additional ways of being musical through practices that might borrow from multiple academic disciplines or fields of study for music-related purposes.
The remainder of the article describes a rationale for an approach to coding through interest-driven projects. The article includes a variety of examples and resources, which can be accessed through the following link: https://jaredoleary.com/publications/from-coding-puzzles-to-interest-driven-projects
Though video games are a popular and established form of media in contemporary society, scholarship addressing video games in relation to music teaching and learning is at an early stage compared to the corpus of research addressing other aspects of music technology such as music creation or performance (Finney & Burnard, 2007; Webster, 2011). Building upon existing discourse in music education, this chapter draws on scholarship beyond the immediate scope of music teaching and learning to address the following three areas: 1) video games and music education; 2) game-based learning and learning theories; and 3) music and musical engagement within video games. Throughout this chapter we refer to video games in their myriad forms along with the devices on which they are played such as console systems, computers, and mobile devices."
This book chapter is available at: https://global.oup.com/academic/product/the-oxford-handbook-of-music-making-and-leisure-9780190244705?cc=us&lang=en&
Findings indicate seven interconnected themes of chiptune-related practices that demonstrate potential transdisciplinary connections between computer science education and music education: (a) music composition practices, (b) music performance practices, (c) maker practices, (d) coding practices, (e) entrepreneurial practices, (f) visual art practices, and (g) community practices.
Members of chipmusic.org engaged in computer science practices such as designing, manufacturing, and modifying electronic hardware for performing and recording chiptunes, as well as coding practices such as creating or modifying software for chiptune-related purposes. Such practices were guided by an interest in making music through old computer and video game hardware, and demonstrate several potential connections between computer science education and music education. For example, members engaged in computer science practices such as hardware and software modification to enable the ability to compose and perform music through the Nintendo Game Boy.
Findings from this study not only demonstrate potential connections between computer science education and music education, they also raise questions about spaces and curricula with blurred disciplinary boundaries. For example, where might chiptune-related practices that blur concepts and practices from a multitude of disciplines and standards occur within a formalized education environment?
The purpose of this session is twofold: a) provide an introduction to different types of project-based learning (e.g., backwards, inquiry-based, and emergent design) and how they lie on the project continuum (i.e., fixed, flexible, or open), and b) to give time to allow attendees to explore the free project-based resources I have created for Scratch. Everyone will walk away with dozens of lesson plans and resources to get them started with project-based learning with Scratch.